Ear for music. Definition. Genesis. Typology. Conditions of active formation and development. Educational

The content of musical hearing includes a set of such abilities as perception, representation and reproduction of musical sounds, followed by complication and improvement in the process of classes of all the above components. Domestic work on the development of musical hearing was published more than a century ago (in 1900) by the famous composer S.M. Maikapar (pg.1900) Representing the first experience, it turned out to be imperfect. And only after almost half a century, in 1947, B.M."s fundamental work appears Teplova “Psychology of musical abilities” (APN. RSFSR 1947), which has not yet lost its relevance. We will call another small brochure I.P. Heinrichs “Musical Hearing and its Development” (M., Music. 1978), in which the author considers in the theoretical aspect the issue of the formation of step, interval and chord representations at the early stage of the formation of musical hearing. We do not find other works comparable to the above.
The proposed monograph is designed for students and students showing an increased interest in the problem of the development of musical hearing, but to a greater extent on the musicians of the performing specialty, especially related in their work with a non -engineered system. The study establishes a connection between the musical hearing and its theoretical basis, which constitutes the content of the musical language in the process of intonational and analytical activity of the musician.
The publication is addressed to musicians, teachers and students of musical specialties, musicologists